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Author: David Carrier
Publisher: Penn State Press
ISBN: 0271082615
Category : Art
Languages : en
Pages : 346
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Book Description
“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit. Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future. Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.
Author: David Carrier
Publisher: Penn State Press
ISBN: 0271082615
Category : Art
Languages : en
Pages : 346
Get Book Here
Book Description
“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit. Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future. Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.
Author: Catriona Ryan
Publisher: Cambridge Scholars Publishing
ISBN: 1443879797
Category : Art
Languages : en
Pages : 142
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Book Description
The Irish short story tradition occupies a unique space in world literature. Rooted in an ancient oral storytelling culture, the Irish short story has underwent numerous transitions, from 19th century Anglo-Irish writers such as William Carleton through to the 20th century's groundbreaking impact of George Moore's The Untilled Field. George Moore's work inspired the next generation of Irish Catholic writers such as Joyce, Frank O'Connor and Benedict Kiely, who foregrounded the backbone of the ...
Author: David Carrier
Publisher: Phaidon Press
ISBN: 9780714865676
Category : Art
Languages : en
Pages : 0
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Book Description
Wild Art is an incredibly brash and current collection of over 300 extraordinary artworks that are too offbeat, outrageous, kitschy, quirky, or funky for the formal art world. From pimped cars, graffiti, flash mobs, and burlesque acts, to extreme body art, ice sculpture, light shows, and carnivals, the works featured here are variously moving, funny, or shocking - and guaranteed to elicit a reaction. Authors David Carrier and Joachim Pissarro have studied alternative and underground art cultures for years. Here, they've compiled the ultimate collection of creative works that celebrate the beauty and art in anything and everything, challenging the reader's perception of what is and what isn't art.
Author: Andrea Charise
Publisher: SUNY Press
ISBN: 1438477457
Category : Literary Criticism
Languages : en
Pages : 242
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Book Description
Investigates how nineteenth-century British literature grappled with a new understanding of aging as both an individual and collective experience. The Aesthetics of Senescence investigates how chronological age has come to possess far-reaching ideological, ethical, and aesthetic implications, both in the past and present. Andrea Charise argues that authors of the nineteenth century used the imaginative resources of literature to engage with an unprecedented climate of crisis associated with growing old. Marshalling a great variety of canonical authors including William Godwin, Mary Shelley, George Eliot, Anthony Trollope, and George Gissing, as well as less familiar writings by George Henry Lewes, Christoph Wilhelm Hufeland, Agnes Strickland, and Max Nordau, Charise demonstrates why the imaginative capacity of writing became an interdisciplinary crucible for testing what it meant to grow old at a time of profound cultural upheaval. Charise’s grounding in medicine, political history, literature, and genre offers a fresh, original, thoroughly interdisciplinary analysis of nineteenth-century aging and age theory, as well as new insights into the rise of the novel—a genre usually thought of as affiliated almost entirely with the young or middle-aged. “Charise’s brilliantly argued, clearly written book is an important intervention in nineteenth-century British literature, age studies, and medical humanities. It brings these areas of inquiry together in what seems a seamless way—as if they have always traveled together or ought to have. Through an investigation of what she calls the ‘aesthetics of embodiment that shaped nineteenth-century visions of aging,’ Charise has given us an original and groundbreaking study of literary, historical, anthropological, and philosophical texts.” — Devoney Looser, author of The Making of Jane Austen
Author: Santiago Zabala
Publisher: Columbia University Press
ISBN: 0231544960
Category : Philosophy
Languages : en
Pages : 218
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Book Description
The state of emergency, according to thinkers such as Carl Schmidt, Walter Benjamin, and Giorgio Agamben, is at the heart of any theory of politics. But today the problem is not the crises that we do confront, which are often used by governments to legitimize themselves, but the ones that political realism stops us from recognizing as emergencies, from widespread surveillance to climate change to the systemic shocks of neoliberalism. We need a way of disrupting the existing order that can energize radical democratic action rather than reinforcing the status quo. In this provocative book, Santiago Zabala declares that in an age where the greatest emergency is the absence of emergency, only contemporary art’s capacity to alter reality can save us. Why Only Art Can Save Us advances a new aesthetics centered on the nature of the emergency that characterizes the twenty-first century. Zabala draws on Martin Heidegger’s distinction between works of art that rescue us from emergency and those that are rescuers into emergency. The former are a means of cultural politics, conservers of the status quo that conceal emergencies; the latter are disruptive events that thrust us into emergencies. Building on Arthur Danto, Jacques Rancière, and Gianni Vattimo, who made aesthetics more responsive to contemporary art, Zabala argues that works of art are not simply a means of elevating consumerism or contemplating beauty but are points of departure to change the world. Radical artists create works that disclose and demand active intervention in ongoing crises. Interpreting works of art that aim to propel us into absent emergencies, Zabala shows how art’s ability to create new realities is fundamental to the politics of radical democracy in the state of emergency that is the present.
Author: Willemijn de Jong
Publisher: Vernon Press
ISBN: 1648892752
Category : Art
Languages : en
Pages : 251
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Book Description
'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.
Author: Thierry de Duve
Publisher: University of Chicago Press
ISBN: 022654673X
Category : Art
Languages : en
Pages : 249
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Book Description
Immanuel Kant’s Critique of Judgment, Thierry de Duve argues in the first volume of Aesthetics at Large, is as relevant to the appreciation of art today as it was to the enjoyment of beautiful nature in 1790. Going against the grain of all aesthetic theories situated in the Hegelian tradition, this provocative thesis, which already guided de Duve’s groundbreaking book Kant After Duchamp (1996), is here pursued in order to demonstrate that far from confining aesthetics to a stifling formalism isolated from all worldly concerns, Kant’s guidance urgently opens the understanding of art onto ethics and politics. Central to de Duve’s re-reading of the Critique of Judgment is Kant’s idea of sensus communis, ultimately interpreted as the mere yet necessary idea that human beings are capable of living in peace with one another. De Duve pushes Kant’s skepticism to its limits by submitting the idea of sensus communis to various tests leading to questions such as: Do artists speak on behalf of all of us? Is art the transcendental ground of democracy? Or, Was Adorno right when he claimed that no poetry could be written after Auschwitz? Loaded with de Duve’s trademark blend of wit and erudition and written without jargon, these essays radically renew current approaches to some of the most burning issues raised by modern and contemporary art. They are indispensable reading for anyone with a deep interest in art, art history, or philosophical aesthetics.
Author: Adam Geczy
Publisher: Bloomsbury Publishing
ISBN: 1350102717
Category : Philosophy
Languages : en
Pages : 225
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Book Description
Pop art has traditionally been the most visible visual art within popular culture because its main transgression is easy to understand: the infiltration of the “low” into the “high”. The same cannot be said of contemporary art of the 21st century, where the term “Gaga Aesthetics” characterizes the condition of popular culture being extensively imbricated in high culture, and vice-versa. Taking Adorno and Horkheimer's "The Culture Industry" and Adorno's Aesthetic Theory as key touchstones, this book explores the dialectic of high and low that forms the foundation of Adornian aesthetics and the extent to which it still applied, and the extent to which it has radically shifted, thereby 'upending tradition'. In the tradition of philosophical aesthetics that Adorno began with Lukács, this explores the ever-urgent notion that high culture has become deeply enmeshed with popular culture. This is “Gaga Aesthetics”: aesthetics that no longer follows clear fields of activity, where “fine art” is but one area of critical activity. Indeed, Adorno's concepts of alienation and the tragic, which inform his reading of the modernist experiment, are now no longer confined to art. Rather, stirring examples can be found in phenomena such as fashion and music video. In addition to dealing with Lady Gaga herself, this book traverses examples ranging from Madonna's Madam X to Moschino and Vetements, to deliberate on the strategies of subversion in the culture industry.
Author: Phillip Brian Harper
Publisher: NYU Press
ISBN: 1479865435
Category : Art
Languages : en
Pages : 288
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Book Description
An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation.
Author: Zürcher Hochschule der Künste
Publisher: Lars Muller Publishers
ISBN: 9783037785607
Category : Art
Languages : en
Pages : 448
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Book Description
The history of the last fifty (or 100 or 150) years has been accompanied by a constant flow of statements, of practices, of declarations of dissatisfaction with regard to prevailing conditions. When something is able to reach from the margins of society into its very center - something mostly unorganized and unruly, sometimes violent, rarely controllable - it forges ahead in the form of a protest. This takes place in (real or virtual) spaces and is accomplished by (likewise real or virtual) bodies. The spaces and the bodies to which the protest relates are the spaces of politics and society. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control. From a position of powerlessness, irony, subversion, and provocation are its tools for pricking small but palpable pinholes into the controlling system of rule. This book presents and reflects on present and past forms of protest and looks at marginalized communities? practices of resistance from a wide variety of perspectives.
